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News Release news release The Metropolitan Museum of Art Communications Department 1000 Fifth Avenue, New York, NY 10028-0198 tel 212-570-3951 fax 212-472-2764 email [email protected] For release: .ARCHIVES Immediate 3 COPIES PLEASE POST Contact: Elyse Topalian SCHEDULE OF EXHIBITIONS SEPTEMBER-DECEMBER 2006 EDITORS PLEASE NOTE: Information provided below is subject to change. To confirm scheduling and dates, call the Communications Department at (212) 570-3951. CONTACT NUMBER FOR USE IN TEXT IS (212)535-7710. New Exhibitions page 1 Upcoming Exhibitions page 5 Continuing Exhibitions page 8 New and Recent Installations page 10 Traveling Exhibitions page 12 Visitor Information page 14 OF SPECIAL NOTE: • Cezanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde presents important works by Cezanne, Gauguin, Van Gogh, Matisse, Picasso, and other late-19th- and early-20th- century artists, all of which passed through the gallery of the influential French art dealer Ambroise Vollard (see below). • Americans abroad and Americans at home are the focus of two special exhibitions this fall: Americans in Paris, 1860-1900, which recalls the importance of Paris as a magnet for late- 19th-century painters; and Louis Comfort Tiffany and Laurelton Hall—An Artist's Country Estate, which unites surviving architectural and interior elements from Tiffany's extraordinary country estate in Oyster Bay, New York (see pages 3 and 4). • Following five years of renovation, the Early Gothic Hall at The Cloisters in Fort Tryon Park has recenrly reopened to the public (see page 12). • To be added to the e-mail list, please contact us at [email protected]. • New adult recommended admission took effect August 1 (see page 14). NEW EXHIBITIONS Cezanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde September 14, 2006-January 7, 2007 At the age of 29, Ambroise Vollard (1866-1939) established himself as an art dealer in Paris with the ptesentation of Cezanne's first solo exhibition. Over the succeeding years Vollard bought and sold pictures by Bonnard, Cezanne, Degas, Derain, Gauguin, Van Gogh, Maillol, Matisse, Picasso, Redon, Renoir, Rouault, Rousseau, Vlaminck, Vuillard, and others. This NEW EXHIBITIONS PAGE 2 exhibition includes seven paintings from Vollard's 1895 Cezanne exhibition; a never-before- reassembled triptych from his 1896-97 Van Gogh retrospective; the masterpiece Where Do We Come From? What Are We? Where Are We Going? (Museum of Fine Arts, Boston) from his 1898 Gauguin exhibition; paintings from Picasso's first French exhibition (1901) and Matisse's first solo exhibition (1904); and three pictures from Derain's London series, painted in 1906-7 at Vollard's suggestion. Additionally, the exhibition features dozens of ceramics, sculpture, prints, and livres d'artiste commissioned and published by Vollard. Also displayed are numerous portraits of Vollard by leading artists, among them Cezanne (Petit Palais, Musee des Beaux-Arts de la Ville de Paris), Renoir (Nippon Television Network Corporation, Tokyo), Bonnard (Petit Palais, Musee des Beaux-Arts de la Ville de Paris, Kunsthaus Zurich, and private collection), and Picasso (Pushkin State Museum of Fine Arts, Moscow). The exhibition is made possible by The Florence Gould Foundation. Education programs are made possible by The Georges Lurcy Charitable and Educational Trust. The exhibition was organized by The Metropolitan Museum of Art, New York, The Art Institute of Chicago, the Musee d'Orsay, Paris, and the Reunion des Musees Nationaux, Paris. It is supported by an indemnity from the Federal Council on the Arts and the Humanities. Accompanied by a catalogue. Press preview: Tuesday, September 12, 10:00 a.m.-noon New Orleans after the Flood: Photographs by Robert Polidori September 19-December 10, 2006 Hurricane Katrina struck New Orleans on August 29, 2005. Within days the city's fragile levee system failed and 80 percent of New Otleans was under water. For the photographer Robert Polidori, the tragedy spurred a meditation on contemporary life and on our culture in decline. This small exhibition presents approximately 20 photographs of flooded and abandoned homes in New Orleans and memorializes the first anniversary of one of America's worst natural disasters. Sean Scully: Wall of Light September 26, 2006-January 14, 2007 This exhibition presents recent work by painter Sean Scully (American, b. Ireland, 1945), specifically his Wall of Light series of paintings, watercolors, pastels, and aquatints. Inspired by the artist's first visits to Mexico in the early 1980s, where he observed the play of light and shadow on ancient stone walls, this ongoing and distinctive body of work focuses on an exploration of abstract forms affected by light, evoking a range of emotional and narrative themes. Paintings from 1998 to the present are constructed with rectangular bricklike forms, closely fitted and arranged in horizontal and vertical groupings as if in a wall, and characterized by broad, gestural brushstrokes, a wide range of luminous colors built up in layers, and varying degrees of overall light and darkness. The core of the exhibition features 30 small-, medium-, and large-scale paintings on canvas, with related watercolors, pastels, and aquatints. The exhibition is made possible by Paula Cussi and Ignacio Garza Medina. Corporate support is provided by UBS. The exhibition was organized by The Phillips Collection, Washington, D.C. Accompanied by a publication. Press preview: Monday, September 25, 10:00 a.m.-noon NEW EXHIBITIONS PAGE 3 Set in Stone: The Face in Medieval Sculpture September 26, 2006-February 19, 2007 The Museum's rich collection of medieval heads, complemented by loans from American and European collections, shows the compelling power and diversity of the human face as represented from the end of the Roman empire to the dawn of the Renaissance. Many of these sculptures were violently broken from their bodies in centuries past, and the exhibition reveals the detective work involved in "reconnecting" them. Organized thematically, the exhibition explores such artistic issues as iconoclasm, portraiture, the use of nuclear technology to determine provenance, and head reliquaries as power objects. The exhibition thus draws together science and connoisseurship, archaeology and history. The exhibition is made possible by The Florence Gould Foundation. Additional support is provided by the Michel David-Weill Fund. Accompanied by a catalogue. Press preview: Monday, September 25,10:00 a.m.-noon Americans in Paris, 1860-1900 October 24, 2006-January 28, 2007 Filled with the best of the old and the new—from the Louvre's treasures to Haussmann's boulevards—late-19th-century Paris attracted hundreds of American art students and artists, including Whistler, Eakins, Cassatt, and Sargent. They were all enchanted by a city that seemed to be "one vast studio." So powerful was the lute of Paris that writer Henry James could observe in 1887: "When to-day we look fot 'American art' we find it mainly in Paris. When we find it out of Paris, we at least find a great deal of Paris in it." This major loan exhibition highlights the themes "Picturing Paris"; "At Home in Paris"; "Paris as Proving Ground," which includes canvases shown in the Salons and other expositions; "Summers in the Country," when many Americans worked as Impressionists; and "Back in the USA," which suggests some of the lessons they brought home. The exhibition is made possible by Bank of America. Additional support is provided by rhe Marguerite and Frank A. Cosgrove Jr. Fund. The exhibition was organized by the National Gallety, London, and the Museum of Fine Arts, Boston, in association with The Metropolitan Museum of Art, New York. It is supported by an indemnity from the Federal Council on the Arts and the Humanities. Accompanied by a catalogue. Press preview: Monday, October 16,10:00 a.m.-noon Coaxing the Spirits to Dance: Art of the Papuan Gulf October 24, 2006-September 2, 2007 The powerful and graphically elaborate sculpture from the Papuan Gulf area of the island of New Guinea is presented in a context that demonstrates how deeply embedded art was in the region's social life in the late 19th and early 20th centuries. The exhibition presents traditional sculptures in the form of masks, figures, and spirit boards that both represented and became the embodiment of supernatural beings that were placated, cajoled, and coaxed to attend to human needs. The exhibition focuses on these sacred objects and the contexts in which they were presented. The juxtaposition of 19th- and 20th-century photographs with the stylistically inventive sculptures—many specifically identifiable in the photographs—presents the cultural (more) NEW EXHIBITIONS PAGE 4 contexts of the objects and facilitates the presentation of culturally specific ideas while creating a visual biography of the works. Additionally, the images demonstrate how early visitors used photography to record their activities, as well as to visualize and represent the art and cultural practice integral to the well-being of the communities. The selection of rare historical photographs—some exhibited for the first time—taken by early travelers to the Papuan Gulf is drawn from The Photogtaph Study Collection of the Metropolitan Museum's Department of the Arts of Africa, Oceania, and the Americas. The exhibition was organized by the Hood Museum of Art, Dartmouth College, in collaboration with The Metropolitan Museum of Art, New York. Accompanied by a catalogue. Glitter and Doom: German Portraits from the 1920s November 14, 2006-February 19, 2007 The short-lived Weimar Republic saw political, economic, and social tutmoil, yet also innovation in literature, music, film, theater, and architecture. In painting, a trend of matter- of-fact realism took hold in Germany like nowhere else in Europe. Disillusioned by the cataclysm of World War I, the most vital German artists moved towards a Neue Sachlichkeit (New Objectivity), in particular its branch known as Verism.
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